presets for TDR Nova GE


Below you’ll find two general purpose presets for the excellent TDR Nova GE PlugIn. If you did not tried it yet, check out the free “standard edition” over there at TDR. It’s based on Vlad’s Nova 67P freeware and Vlad and Fabien really did some magic with the Nova – a sort of Nova 67P reloaded. [Read more…]


another hobby of mine

another hobby of mine.

via another hobby of mine.


mixing does not mean restoration

If you prepare a track and something like “where is my damn 64dB/octave brickwall filter?” comes to your mind then this might be because you are not upfront any mixing process but are working on audio restoration instead. Or the sources just might be crap. Always remember: garbage in, garbage out.

I’ve just re-discovered preFIX.


a very comprehensive review on Thrillseeker VBL

And don’t miss to read the whole review here with lots of hands-on examples.


mixing kick and bass w/o EQ

Featuring FerricTDS.

Thanks to Justin for sharing!

tips & tricks with ThrillseekerVBL

The Sweet Spot

The plug-in includes a preset called “LA Sweet-Spot” and one can safely use this setting on almost everything just to add a little more mojo. Just drive the unit with a proper “IN GAIN” amount so that the overall compression and distortion fits to the source.

Increased Stereo Imaging

If ThrillseekerVBL is used on stereo program material, I would recommend to use the TRAFO option to have the most prominent stereo imaging effects. Also, if there is just a little gain reduction amount applied, I would prefer the “DUAL M” option opposed to “STEREO” linking. And I would always use the “DUAL M” option on sources like vocal groups, panned rhythm guitars and stuff.

VBL as a Mastering EQ

One common mastering trick to open up a rather flat/dull track is to dial in a slight but broad 5kHz boost with an analog tube equalizer. Due to the tube circuit also higher order harmonics are generated and the whole stereo image opens up.

This can be replicated perfectly with ThrillseekerVBL: Move the “BRILLIANCE” screw to its top most position and set the “AMP” knob to 0.68. If distortion is too much now, just back it off by dialing in some compression and/or lowering the input gain.

If the EQ effect amount is too much, simply use the “DRY:WET” option. Also make sure that the trafo is in and prepare yourself for pure awesomeness.

Some Shorties

  • Avoid pumping: Dial in some more “EMPHASIS”.
  • More HF focus: Turn the “BIAS” screw clock-wise.
  • Upward compression style: Dial in some dry signal amounts (just a little).

compressor aficionados (4) – Bob Olhsson

Bob, you are a professional recording and mastering engineer for over thirty years and already legend. What is more important: The ability to hear or the ability to use the right device according to the context and to apply the right adjustment?

You need to BOTH be able to hear AND find the right device and settings! Probably the most important thing to understand is that just raising the volume a tenth of a dB. will always sound better. All comparisons must be checked with the average level compensated. Otherwise, it’s easy to wind up with something that’s louder but far worse sounding.

Another challenge is mastering for what the recording needs and not what your monitors want. Our goal is for it to sound great everywhere. The best way I’ve found to tackle this problem is sticking to broad strokes unless I’m removing distractions. If a half dB. sounds different but not better, I’ll generally leave it alone. [Read more…]

compressor aficionados (3) – Tony from Klanghelm

Tony, your DC8C compressor release has caused quite a stir last year. What’s that magic formula behind it?

Wow, you’re getting straight to the point 🙂
I think, people appreciate, that DC8C doesn’t try to emulate an analogue design. I wanted to create a kind of compression chameleon, that get’s every job done. There are not that many compressors available, that do not create any harmonics at all and are able to work completely clean even at extreme settings. The way, this was achieved leads to DC8C’s unique sound, which might be another plus. Also, I believe, that the interface is playing a big part here, since it looks quite simple to use despite the huge amount of control it offers. [Read more…]

compressor aficionados (2) – Nico from BigTone

Nico, why did you wanted to be a sound designer?

this happened by accident actually. i am and always was a sound fetishist. to me music is simply based on sound at the very first. no sound, no music. sound to me is the core element of music, way before you start a composition you need a sound to do so, be it a synthesizer or a guitar, it doesn´t matter. so the sound you choose greatly influences the composition that follows. that just was my natural understanding of music. since i was producing music in the mid 80´s i did so in the electronic area, using a lot of synthesizers. i never liked the presets provided with them, so i started to screw around on the knobs, until i liked what i heard. i started to study manuals (i still do this regularly, just for fun). it was easier for me to do it that way, as i then was able to make the sound fit into the composition/arrangement, as opposed to make everything fit searching preset by preset, not finding what i wanted anyway. over the years experience growed, and musical success went along with it, until i realized by 1997/98, that the music business went into deep trouble, so one day i thought, i might as well print an audio cd demo with some of my sounds i collected over the years for various synthesizers, and give those to the relevant guys at the music fair in frankfurt, which i visited regularly anyway. just to check if there was a market. well, after this year (1999) at the fair, the phone didn´t stop ringing…
so from that point on it came like it had to, suddenly i earned way more money than with producing music. so i went that route quite fast. i had to, the demand was huge. [Read more…]